Every song has a story. Here are some fun facts:
That’s how dreams go
by Acquisotic – Released 2005
All performances unless noted were done by Bruce Gombrelli. As always, all composition, mixing, production and mastered were done by Bruce as well.
Artwork: Eric Hartman over many weeks and iterations
Slide was written about any person you’ve ever known that thinks they are so greatone that you knew that was in a position where they thought they were so much better than you. It means “Slide on down, lose the crown”, or come down a notch from your high horse because the world doesn’t revolve around you.
Composed, Performed, Mixed, Mastered and Produced by Bruce Gombrelli
Drums: Mix of groove and live drums
Keyboards: Live – Clavinet parts
Bass: Cirrus Fretted 5 string
Flute Part: Motif, played live by Bruce!!
Scott Dart – Special appearance on Sax!
It’s Not Learning
This song is about how we often keep making the same mistakes in love over and over again. How we get stuck in our own mind. It was meant to be quite pop like and classic in song structure. I wanted this to be a strong pop song but it still feels somewhat classic in it’s sound.
An older take on it was: A song about what a love might be, even though it never works and I keep trying. Won’t I ever learn?? A song I originally wrote on my 12 string guitar. I developed an fantastic interweaving groove pattern and combine it with live drums.
Bass: Live – Guitars: Live – multiple tracks of a 12 string acoustic – Keyboards: Live Yamaha Motif – Vocals: Live – AKG 3000 – Drums: Self Created Groove on the RS7000 and Live drum tracks.
Star In My Mind
Do you know what you want to be? What your dreams? But wait a minute. Your way more special than you think. Don’t let things get to you. Take life in stride and reach for your dreams. It will take work, but it’s worth it. You have a bright future ahead, filled with love, just learn to open up and the world will open up to you.
Oh yea, sometimes you feel the world is controlling you and your a puppet on a string but there’s goodness inside you. Push your envelope and reach for those goals.
Your always a star in my mind!!
It had a few other incarnations that were unreleased and not complete.
The groove was programmed on the Yamaha RS 7000 by Bruce
Drums parts were layered over the groove.
The original guitar track was acoustic over the groove.
Many layers of guitar riffs were then added later.
The lead vocal was added and then the backing vocals were recorded.
There’s many sonic embellishments, like there’s a whammy pedal guitar part in the first chorus. Two guitars make up the lead break with lots of harmonics.
Sadie Oh went through many different iterations before the final result was produced. Originally it was called “Hello Baby” and started with a phone call (hence the phone ringing in the beginning). Sadie is really a fictitious identity. I jokingly said it was about my guitar but that really wasn’t true, like many of my songs it’s was a fictitious entity. The vocal that says “Go Sadie Go” was referring to the guitar solo. The song also referenced both the Cars song “Candy Oh” and “Sexy Sadie” from the Beatles. In fact, the last guitar verse is very cars like. The ending (and many parts in the middle) were inspired by AJA by Steely Dan. One of my favorites. There’s a female vocal scat at the very end which was also a take off of Steely Dan.
**Special appearance by d. Mae Cye on background female vocals and ending vamp**
The base of Sadie Oh was developed in Cakewalk over many years. The sequencing was done in
there and the core track was mostly drums and a keyboard part (Rhodes style). The keyboard
part was actually performed live and recorded into Cakewalk to give me a lot of flexibility
of doing the initial arrangement. All of the instrumentation, guitars and otherwise was
mostly performed live.
The 11th chord breaks are very important to the song and were there from the very start.
Later I came back and added the “All my time” parts by simply cloning the 2nd lead guitar
part and stripping off the top layers and rebuilding that section. I knew I had to make a
statement about how much Sadie Oh meant and this vocal was a great was to push the idea.
The ending vamp was also extended. I have to admit, I had Steely Dan AJA in mind on that part.
Edge Of Your World
This deep song took over a year to compose, perform and produce. It started it’s life as a keyboard part and had a galloping drum track. I worked it and worked it. It evolved and finally refined to become “The Ultimate Truth” which was released on the Stir Fry CD. I had Brent Bennett sing that version (with some of my backing vocals). I continued to rework the song and wrote the lyrics and changed the theme slightly, and sang it myself and created the Edge Of Your World version which is the next level refined musicially from the one on the Stir Fry release. The idea of “Edge of Your World” was that you have to push yourself in positive direction and push the boundary of your comfort zone. By that, I explicitly wasn’t referring to doing crazy stunts type of pushing, but instead, pushing the limits of your mind and what you normal do it your leave, in context of you. It was in response to the event of 911 as well.
Untouchable: This song was a take off of an article I read about a young man addicted to pornography . I crafted it such that he was worshipped the images and felt stuck. He knew inside that they weren’t the truth and he wanted to escape them but their lure was inescapable, undenyable. Untouchable means that he couldn’t touch the images, they weren’t real.
Guitars (Live): Silver Queen 2 stereo tracks
Bass (Live): Cirrus 5 string,
Keyboard (Live): Motif driving E-Mu B3 sound module,
Vocals (Live): 3 tracks,
Acoustic (Live): C&A dual channel
Lead Guitar (Live): Stratocaster through a GT-6 and then an Intellifex effects unit.
Who Am I
Who am I – was a song written first on guitar then lyrically related the introduction to the Science Fiction Fantasy book I’m writing. It was supposed to be the first chapter where he essentially is singing “Who Am I, so naked, etc.” This is one of the rare songs that I brought in a female vocalist to do some backing vocals, and I did direct what I wanted her to sing. The drums were live by me so it gives this song kind of an organic feel.
Guitars (Live): C&A, Martin and 12 string Guild
Vocals (Live) – Bruce
Backing Vocals (Live): Bruce and Julianne Loveless
Drums (Live): Roland V Drum set
Bass (Live): Peavey Cirrus
Lead Guitars (Live): Stratocaster (of course) don’t remember which one.
There’s a really cool more up produced version of this but it wasn’t quite complete and not finished since I liked the layed back more easier version.
Gimme That Snow
I was stuck on the idea of having songs connect together, theme CD style. Gimme That Snow was supposed to be the leader song that had a longer ambient trailer that connected to That’s how dreams go. The trailer still exists but not in a released form, and the original version of the trailer is somewhere on a backed up raw track. The lyric idea is simple. Give me some snow instead of rain so I can go skiing!! The middle rock symphonic break is always something I have fun doing! It was supposed to have more of a telephone voice in part of it but it was lost during one of the edits. I wrote this song during the winter and it was my ski season complainer song.
Drums: Programmed by Bruce, many different sound modules
Guitars: Fender Strats
All instruments played or programmed by Bruce
Smile Baby Smile
Smile Baby Smile is about a fantasy relationship that I had in my day dreams. I love this songs simplicity.
Acoustics include: 3 – 6 string acoustic tracks. Drums are scored and live fills. The lead guitar is made up of two different double tracked guitars where my Silver Queen Guitar. The other accent bendy harmonic guitar track is also Silver Queen. Added Martin D16 on end and for fills.
A beautiful song about a man and a woman and their first meeting. Written on my acoustic first and another early morning song at first. This baby includes in return to the accenting “guitar lead” and a fairly hot moving bass tracking in the background.
This song was the result of some sonic explorations with guitar over groove tracks with some added live instrumentation. I built up the song using the RS7000 (which I added lots of live keyboard part embellishments, and ultimately bass parts). It was designed to be an instrumental from it’s conception. It’s in the same basic era as “My guitar ate my monkey” which has yet to be released.